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Star Wars ESB (Devastator edition) (BRAINSTORMING PHASE).

That guy with no name said:

Color Match software (for matching 4k80 to blu-ray): Dr dre’s color match tool.
Color grading software: Davinci Resolve 17.

Can you describe your workflow of color matching every shot of a film. I’ve used Dr.Dre’s color matching tool to do brief scenes, but how would you do it for entire movie and how long does it usually take for you?


OnlyOneKenobi said:

Another sequence is the initial reveal of the Death Star, with the addition of The Imperial March from TESB. Visually it is excellent and fits the narrative perfectly (I love that the Death Star now relies on a planet as a base, presumably so they could build it a la ROTJ. It never seemed right that it just sat in some part of outer space waiting for a phone call for the crew to go and blow up some planet the Emperor didn’t like the look of).

But the Imperial March is a stylistic theme throughout TESB and fits that films dark, doom-laden feel. Again, for it to just pop up doesn’t sit right and is another distraction. The new special effect sequence here even goes on too long seemingly to fit it in (the Star Destroyer appears to be about to crash in to the Death Star while it waits for the orchestra to finish) - and then music continues through the next scene where Vader remotely fingers a guys throat. It just seems a bit self-indulgent - although to be fair the nice bit of creepy music when Vader wiggles his finger is very effective.

I, too, am making a vote to remove ‘The Imperial March’ music-cue from the Death Star Reveal footage in ‘SW-ANH: Revisited’. I feel that if you leave it as is, you’ll destroy the impact of Vader’s first appearance in ‘ESB:Resvited’.

In ANH, Vader doesn’t appear to be the head-villain. When he enters the conference room, he follows Tarkin; Vader obeys Tarkin when he is told to ‘release’ his force-grip on an Imperial officer; and Vader goes out of the Death Star to do the dirty work of killing Rebel pilots. Vader and Tarkin are co-villains, whereas in ESB, Vader is the central villain, hence he gets his own bombastic music in his first entrance. Having that ‘Imperial March’ music-cue appear first in ‘ANH: Revisited’ and hearing that same music reappear in ‘ESB: Revisited’ would be redundant and it would lessen the impact of his introduction as the head-villain.

For that said Death Star footage, I originally thought that if you must use the Vader theme, then I would use portions of the ESB music-cue, ‘Aboard the Executioner’—the portion that was not used in the film. Furthermore, I would even trim that portion of the music and trim the footage to fit that music.

Audio example:

However, to further give Vader a greater dramatic presence in ESB, just eliminate the Vader theme entirely and use this music-cue from ‘Rogue 1’.

ziggyonice said:

I almost feel as though “The Imperial March” should NOT be in A New Hope, perhaps with the only exception being when Vader is on the screen — the theme has been closely tied with Vader and his leadership of the fleet.

However, after Rogue One, they chose to embrace the classic Death Star 1 theme (dun, dun dun dun!) and also introduced “The Imperial Suite,” which almost seems more like an appropriate theme for the Empire in the time of Tarkin.

I would personally like to see The Imperial Suite in ANH:R HD, and keep The Imperial March out of it (with the exception, perhaps, being when Vader makes a move — maybe the lightsaber battle with Obi-Wan or when Vader hops into his TIE fighter).

By the way, here’s the theme I’m referring to (“The Imperial Suite”):

You can always write in the end-credits “additional music by Michael Giacchino’

Syncing up DVD audio with BD video

Going on the assumption that you are muxing the DVD audio stream with the Blu Ray video stream, it looks like that you are going to have to apply a forward delay of 4 seconds on the DVD audio track. In either MKVToolNix or TSMuxer, there’s a delay box where you apply the value, expressed in milliseconds. First, you need to know how much delay that you need to apply.

Open your muxed file in the media player, VLC, and use it to search for the delay value to put in the delay box. Go to the point of the film where the 1st line of dialogue is spoken. Select the audio stream to set your delay–press the ‘J’ key to nudge the audio stream forward, press the ‘k’ key to nudge it backward. When you find the right sync, write the delay-value down. Now go to the end of the video where the film’s last line of dialogue is spoken. If the audio is sync’d with that scene, then this step is over and you are ready to re-do muxing of the two streams together where you are going to apply the delay value in the delay box.

STAR WARS: EP V &quot;REVISITED EDITION&quot;<strong>ADYWAN</strong> - <strong>12GB 1080p MP4 VERSION AVAILABLE NOW</strong>


Since you have put in so much to the audio tracks of your Star Wars ‘Revisited’ trilogy—using music from other ‘SW’ films and adding additional sound-effects, perhaps you should consider letting members access to the raw audio edits of your ‘Revisited’ Trilogy. A FLAC file would do fine.

There are non-English speaking members, here, who would love to enjoy your films in their own language. Because you have changed the length of the films, those members simply cannot replace an audio track with, even, the GOUT version. Having those raw audio tracks, a competent audio editor can do a separate language track of a ‘revisited’ film and share it with the community.


adywan said:

But the main reason why it may just be 5.1 is because i do not have any software that can encode DTS-MA let alone encode a 6.1 or 7.1 audio track. The DTS software suite is ridiculous price and now only seems to be available for Mac.

There are members, here, that have access to a DTS Master Suite software, so, if you allow access to those raw audio files, I am sure that those members will share them with the community. Some members have audio amplifiers that can play 5.1 channel FLAC files, so, even without a DTS audio track, they can enjoy the sound in high definition.

Pro Audio Engineer looking to get involved!<br>

GMatias said:

I’m looking to make a Japanese language track for Adywan’s ESB:R edit.

I feel for you in your challenge in making an audio track for ESB:R. I’ve made a recording of the ‘film-with-live-orchestra’ concert of ‘ESB’ where the cut shown to the audience was the 2011 version. I wanted to sync the concert audio to ESB:R because I wanted to check-out Adywan’s edit that I’ve heard so much about and I was bored with the 1980 and 1997 English surround-sound audio mixes.

While working on it, I found that Adywan had extended several shots in the film–the downward pan to an Imperial Star Destroyer after the opening crawl, Luke’s X-wing in the Dagobah pond. As a result, I had to stretch the concert audio in the music to match the length of those shots. I didn’t add-on any of the additional sound-effects from the ESB:R sound-mix to the re-edited concert audio, because, for me, it was all about hearing a new performance of this score with the edit I choose to watch.

Help: Looking for... VCD Preservations

Perhaps the best that can come from the Star Wars Saga on VCD is that it is one of the few formats that carries the theatrical cut of the ‘The Phantom Menace’, outside off VHS tape and Laserdisc. It would be nice if one were to get a rip of any of the foreign language tracks from these VCDs-even if the audio track from the disc is 44.1kbps/MP3 quality. I’m sure ZigZig would welcome it in his theatrical cut preservation.

Krieg der Sterne - Despecialized Edition 2.7 (German) (Released)

To review, the German release of Star Wars—Krieg Der Sterne—restored the music for a sequence in the trash compactor where Luke is attacked by a dianoga creature.

My question is this: since George Lucas had the said music-cue removed in his English-language sound-mixes, how did this music end up in the German-language sound-mix? It takes work to create a sound mix for a different language—a group of people would have to control the audio levels of the various sound elements—music, sound effects, and dialogue. I am thinking that one of the 2 things may have happen that the said music-cue appeared in that said sequence:

The sound mixers who worked on the German language track either didn’t look at any attached notes to the sound elements that would indicate to mute the said music cue, or no notes were attached.The distributor for the film’s German release requested that the music-cue be used. Since Fox still owned the rights to the film at the time, they would be willing to grant that request.

I am open to any factual explanation.


adywan said:


Upscaling ESB:R should only take a month or two. Luckily i still have all of the project files so, if needed, i can replace a shot that isn’t working in the upscale with a newly rendered version. Then i can move onto ANH:R. All the work i have done so far on ROTJ has all been in 1080p, so no need to do any upscaling there. ROTJ:R will be native 1080p.

Adywan, Thanks very much for your intending on upscaling ANH:R to 1080p. I saw samples of the VFX that you’ve created for ANH:R and I wanted to check it out on my 54-inch TV, but I couldn’t tolerate the image quality being below 1080p (once I go 1080p, I’ll never go back), so I held back on watching it.

Info &amp; Help Wanted: Bram Stoker's Dracula VHS audio rip

You need two audio files to synchronize (or ‘sync’) your rip of the VHS audio track to your HD video.

  1. The audio file the VHS audio track (which you have already)
  2. The audio file of the HD video audio

Since you are already using Audacity, will use that as an example.

Open both audio files

Compare the waveforms of each file–look at the head-end and the tail-end of each file and line up the VHS audio file to the HD file by the waveforms. If your VHS audio track doesn’t ‘line-up’ with the HD audio file, then you have to either extend or shorten the duration of the VHS audio.

There’s some YouTube videos, out here, that help you ‘line-up’ or synchronize audio files of instrumental tracks and vocal/instrumentals tracks of the same song (to make a ‘vocal-only’ audio file). Get tips on synchronizing the two files from these videos.

After you line-up the files together, ‘select’ the VHS audio file, then go to: Effect–>Change Tempo.

You have to put in the percentage value that will determine the right length of the VHS audio file to match the length of the HD audio file. This way, you change the duration of the stream, but you are maintaining the pitch.

After you change the duration, compare the waveforms of the files again. If they don’t match up, then you have to try again. Keep playing with the percentage values until the waveforms on each ends of the audio file match-up.

Audio Mixes used for the 2019 SE release of the Original Trilogy - any issues?

Just for fun, I was watching SW:ANH with the 5.1 DTS-ES Italian track some time ago (Italian is not my language) and I’ve noticed a flaw in the audio for the scene just after the Solo/Jabba conflict where Luke and Ben were making their way to Docking Bay 94 (at the 54:14 mark). I noticed that the music-scoring elements were not sync’ing to each other by about 1 second between them.

For convenience, here’s a 29-second mkv clip of that scene.

Hear it on Audio Track #1

I ripped the audio for that scene and I examined each channel. I’ve discovered that the music element in the front left and right channels are out of sync with the music element in the center channel, but the other sound elements—the dialogue, and the alien sounds (Chewie’s grunt, and an alien stalker speaking on a portable communicating device) were in sync. As a hunch, I’ve compared both channels to the 1977 mix. Sure enough, the center channel element used in this 2019 Italian audio track for that scene is from the sound mix of ‘Star Wars’'s 1st theatrical cut because the music placement for that scene in the center Italian track matches the music placement of the same scene in the GOUT version.

Here’s a breakdown how the music for this 28/29 second-footage covering between these two frames is presented …

In the ’77 version, the music cue for that scene—Inner City (Cue #5M6)- is coming to an end where Luke says, “What a piece of junk.” For the 1997 cut, Lucas extended the said footage by 21 frames. As a result, the said music cue has just ended before Luke says that said line.

Using that same mkv clip (above), here’s how the Italian track on the said footage plays out.

The Left and Right Front Channels of the DTS Italian track (Audio Track 2): It begins with the GOUT audio mix with Ben’s line, “If his ship is as fast as his boasting…” in Italian, then switches to the ’97 mix through-out the remainder of the scene.

The Center Channel (Audio Track 3): It is entirely the center track for the GOUT Italian mix. Notice that after the stalker-alien does his speak (at the :16 mark), the audio fades out to silence and fades back in. The GOUT center audio for that footage would not cover the added frames in the ’97 cut, so, a silence patch in the center track was made to extend the length of the GOUT audio. Since the left and right front channels are filled with music and sound effects, they mask out the center track’s brief silence patch.

However, in the end, the music being out of sync between the channels is audible (Track 1).

Why a polished audio mix of that sequence was never created back in ’97 or that audio mistake was never corrected in future home video releases *, including this one, is anyone’s guess.

*= yeah, this anomaly appears in the 2004 Dolby EX Italian audio track via shorman’s Star Wars Saga HDTV-DVD Preservation

Empire Strikes Back - Two 1980 Theatrical Cuts?

The-long-and-the-short of it is that when the film was released on May 21st, 1980, it was a limited engagement that was shown only in 70mm prints. When the film went into general release with 35mm prints on the following June 18th, it was new a cut that included changes (some optical-effects fixes and dialogue replacements, among them) and 3 new special effects shots that increased that length of the film by 20 seconds.

Discussion of that limited-engagement cut can be found here.

Someone did a recreation of the ending of that limited-engagement cut on YouTube.
The audio in that video is a vintage In-Theater recording of a screening from that alternate cut.

Details about that audio recording can be found here:

Can you convert the cinema versions of Dolby Digital / DTS to their home audio equivalents?

There’s some notes here on how to extract the audio from the CinemaDTS CD-ROM discs and sync them up to your target video file.

One thing though, the audio files on these discs are compressed and stored in APT-X100 files–one file per reel–with a bit depth/sampling rate/bit rate of 16bit/44.1khz/882kbps with a 4:1 compression rate. So, it’s not exactly a lossless representation of a film’s original sound-mix.

Happy researching.

What is your main way of watching the Original Trilogy?

My ideal way is to wait a long period of time between viewings of one film that I liked. This way, I can forget that one film and come back to it so that I can get that same enjoyment of when I first viewed it. In the case of the first three Star Wars films however, that is no longer possible since I’ve been involved in doing audio projects for them and I have to watch them to see if my work is done well. It’s like listening to a popular song. You first heard it over the radio and you’ve enjoyed it so much in that first listen. You would listen to that song repeatedly for hours and days to get that same ‘high’ of enjoyment. After a while, when you reached that 100th listen, that enjoyment starts to wear-off.

Before that, I had the first two films on CED disc in the 1980’s and I would watch them often for a year until my player broke in 1985. I, then, got a VCR (finally), but I never bothered buying the Star Wars films on tape. Fast-forward to 1991, I made a visit to a once-popular department store and I saw a home-theater display that contained a Toshiba 4:3 47-inch big-screen TV, a Sony laser-disc player, two Sony tower speakers with powered subwoofers and a comfortable sofa where people were watching a movie on that TV without a care in the world-the salesmen nor security men weren’t telling these people to move along. On a whim, I bought the Star Wars Trilogy “Definitive Collection” Laserdisc box set (despite my not having a LaserDisc player), went straight back to that department store and started playing ANH. Because of the size of the TV, the letterboxed picture was enough to put the black borders in my peripheral version. The remastered soundtrack was crisp-sounding coming out of those Sony speakers. Those speakers also did a good job in making the explosions rumble.

Into the playing of these discs in the store, customers and even the salesmen were gathering around the ‘living room’ area to see how this movie looked and sounded in that home theater set-up. One mother came in with her children and the kids were sitting close to the TV-screen in front of the sofa to watch the flying space ships. Each week, I brought in a different Star Wars movie to play in the store without objection from the salesmen. The store didn’t have any LaserDiscs to sell, so, I like to think that I was doing that store a favor by my playing these discs with the store’s equipment.

Having not seen the films for over 6 years, watching them with that home-theater set-up was the best that I can get of enjoying the films outside of the theater when I first saw them.

Nowadays, after viewing the SW films via ‘film-with-live-orchestra’ concerts, I can go for long periods of time without seeing the Star Wars films, so, I can wait forever for the completion of ‘4K80’